A History of Sanskrit Literature c12.s4.4

Language: English

c12.s4.4.1

Māgha's theme is borrowed like that of Bhāravi from the *Mahābhārata*,³ but, while Bhāravi magnifies Çiva, Māgha's favourite god is Viṣṇu; the contrast is doubtless deliberate, just as in Cantos iv and xix he sets himself out to vie with Cantos iv and xv of the *Kirātārjunīya* as studies in variety of metre and curiosities of form respectively. The epic tale is simple; Kṛṣṇa encourages Yudhiṣṭhira to perform his royal consecration. The rite proceeds, and Bhīṣma's counsel results in the award to Kṛṣṇa of the present of honour. Çiçupāla, king of Cedi, is wroth and leaves the hall; Yudhiṣṭhira would follow him and appease him, but Bhīṣma extols Kṛṣṇa and restrains him. Çiçupāla stirs up revolt and seeks to destroy the sacrifice. Yudhiṣṭhira seeks Bhīṣma's counsel as usual; he is advised to trust Kṛṣṇa and defy the king. The latter insults Bhīṣma who retorts by a denunciation of him, and explains that Kṛṣṇa has been under a promise to the king's mother to endure a hundred deeds of evil of her son. Çiçupāla then transfers his vituperation to Kṛṣṇa, who replies, evoking a fresh onslaught of words, including a reproach for Kṛṣṇa's theft of his affianced bride. Kṛṣṇa replies that he has now fulfilled his pledge, and with his discus severs the head of his foe. Māgha shows decided originality in touching up this theme; in Canto i we have a new *motif*;

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the sage Nārada appears in the house of Vasudeva where Kṛṣṇa lives, and in the name of Indra bids the hero dispose of the Cedi king whose hostility menaces men and gods. This affords Māgha the opportunity of displaying his skill in politics; Kṛṣṇa takes counsel with Balarāma and Uddhava; the former advises immediate war, the latter acceptance of the invitation to Yudhiṣṭhira's consecration. Then, imitating Bhāravi in Cantos iv–xi, he leaves his original entirely and proceeds to exhibit his skill in a longer series of descriptions. Kṛṣṇa leaves Dvārakā for Indraprastha, not without a fine picture of his capital (iii). Mount Raivataka is reached, and Dāruka, his charioteer, expatiates to Kṛṣṇa on its loveliness (iv). The army encamps, enabling Māgha to air his knowledge of campaigns as they should be conducted in poetry (v); needless to say the women are not forgotten: the queens accompany the host in litters, their ladies ride on horses or the humble ass, the hetairai swarm and make their toilets for their masters; soldiers, elephants, and women alike must enjoy the bath. Kṛṣṇa himself must have pleasure; so the six seasons as fair maidens appear to give one more opportunity of picturing love (vi). No wonder that the Yādavas imitate him; with fair ladies they wander in the woods (vii), and share the bath (viii). The sun, charmed by the appearance of these heroes, desires to imitate them and bathe in the waters of the western ocean;

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thus we have a very elaborate and often happy picture of the sunset and the rising of the moon, which waken again love in the hearts of the women, who send their eyes and their invitations to their lovers (ix). They are only too eager to accept them, and after drinking together they indulge in the joys of love (x). Day dawns (xi), the army awakens to its duties, and the Yamunā is crossed (xii), Kṛṣṇa enters Indraprastha and is welcomed by Yudhiṣṭhira; the poet remembers to vie with Açvaghoṣa and Kālidāsa in describing the feelings of the women who crowd to see him enter. We now return to the narrative of the epic, but in more polished form. The ceremony is performed, Kṛṣṇa receives the gift of honour (xiv). Çiçupāla protests, Bhīṣma challenges him, he leaves the hall and prepares his army for battle (xv). A *tour de force* follows; Çiçupāla’s envoy brings a message of set ambiguity, either a defiance or a submission; Sātyaki answers it, and the envoy replies haughtily (xvi). The two armies move forward to battle (xvii); their contest is described at length, not without ability, though, like nearly every Sanskrit writer, he gives the impression of painting his picture from books, not life and death. In the end the two rivals meet, fight with their arrows, then with supernatural weapons, until Kṛṣṇa slays his foe, whose power passes over to the victor.